Literatura científica selecionada sobre o tema "Horror tales – appreciation – fiction"
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Artigos de revistas sobre o assunto "Horror tales – appreciation – fiction"
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Ketelaar, Timothy. "Lions, tigers, and bears, oh God!: How the ancient problem of predator detection may lie beneath the modern link between religion and horror." Behavioral and Brain Sciences 27, no. 6 (2004): 740–41. http://dx.doi.org/10.1017/s0140525x04320170.
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Atran & Norenzyan (A&N) claim that an appreciation of the evolved inferential machinery underlying supernatural beliefs can greatly aid us in understanding regularities in culturally shared conceptions of religion. I explore how their model provides insight into why culturally shared tales of horror (e.g., horror movies) often combine religious and predatory content.
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Vuohelainen, Minna. "Traveller's Tales: Rudyard Kipling's Gothic Short Fiction." Gothic Studies 23, no. 2 (2021): 181–200. http://dx.doi.org/10.3366/gothic.2021.0093.
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Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.
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Patra, Indrajit. "Exploring the intersection of Lovecraftian monstrosity and techno-body horror in selected works of Neal Asher: an examination of (post-)humanity." Multidisciplinary Reviews 6, no. 1 (2023): 2023009. http://dx.doi.org/10.31893/multirev.2023009.
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This scholarly investigation aims to meticulously examine the various mechanisms employed by British science fiction writer Neal Asher in his works, including the Transformation trilogy (2015–17), Lockdown Tales (2020), and Lockdown Tales 2 (2023), to convey the erosion of humanity following profound physiological and cognitive changes. This research highlights how Asher skillfully combines elements of Lovecraftian grotesqueness with intricate portrayals of physical horror, thereby challenging conventional categorizations. These narratives feature a diverse ensemble of human and non-human protagonists, each subjected to transformative biotechnological, computational, and psychological enhancements. These processes raise questions about the feasibility of preserving even a semblance of humanity in an overwhelmingly advanced, distinctly post-human cosmological environment. While both biotechnological and Lovecraftian modes of horror explore humanity’s insignificance within a vast, indifferent, and often malevolent universe, Asher’s body of work consistently delves into the theme of how humans can retain their inherent humanity in the face of monstrous metamorphosis. Additionally, this investigation elucidates how such transformations give rise to the emergence of the “other” within oneself and the monstrous “Other” that takes center stage in the narrative. By exploring these themes, this study contributes to the scholarly discourse on the intersection of horror, transformation, and the preservation of humanity in science fiction literature.
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Daniel, Carolyn. "Hairy on the Inside: From Cannibals to Paedophiles." Papers: Explorations into Children's Literature 13, no. 3 (2003): 5–21. http://dx.doi.org/10.21153/pecl2003vol13no3art1282.
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Cannibalism and its uses as a trope in colonial literature, contemporary fantasy, colonial writing, horror fiction, and fairy tales are considered. Episodes of cannibalism and metaphorical allusions to perverse forms of ingestion assume different forms and perform functions inflected by historical and cultural contexts, but they are apt to construct distinctions between self and others.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
Texto completo da fonteResumo:
The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Jets, Kairi. "How is Fear Constructed? A Narrative Approach to Social Dread in Literature." Interlitteraria 23, no. 2 (2019): 427–41. http://dx.doi.org/10.12697/il.2018.23.2.16.
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Fear-inducing narratives can be divided into two subtypes of horror and dread. While horror stories concentrate on a concrete visible object such as a monster, in dread narratives the object of fear is abstract or absent altogether. Pure forms of either are rare and most narratives mix both types, usually with dominant in one or the other. An interesting subtype of dread narratives is the narrative of social dread, where the fear is social in nature.
 One of the few narratologists to study construction of fear in arts, Yvonne Leffler suggests a variety of narrative techniques often used in horror fiction. Adjusting Leffler’s list of techniques for tales of dread instead of horror helps analysing the nature and amount of dread present in a range of different narratives from light reading and literary fiction to non-fiction. A narrative approach helps to reveal how non-fiction texts use similar techniques, and sometimes more extensively than fictional texts. Lionel Shriver’s We Need to Talk About Kevin (2003) is an excellent example of social dread in fiction, where societal failures are a big part of the fears induced, and the questions raised in the narrative are denied definite answers. Kanae Minato’s Confessions (2008) is closer to a thriller, because despite raising issues of societal failure, the work gives conclusive answers to all of the questions raised during the narrative. Although Haruki Murakami’s Underground (1997–98) is a nonfiction compiled from interviews of terror attack survivors, it nevertheless has the hallmarks of a social dread narrative, such as question-answer structure and abstractness of the source of fear. More importantly, Murakami’s work alternates between identifying and anticipatory readings, gives no definitive answers to the questions it poses, and the fear it conveys is social in nature.
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Poncarová, Petra Johana. "Spatial and Sonic Monstrosities in William Hope Hodgson’s “The Whistling Room”." AUC PHILOLOGICA 2022, no. 2 (2023): 67–77. http://dx.doi.org/10.14712/24646830.2022.38.
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The article focuses on the corpus of tales featuring “Carnacki, the Ghost-Finder” by the British author William Hope Hodgson, an influential figure in the history of horror, fantastic literature, and speculative fiction. Drawing both on classical works of criticism by Tzvetan Todorov and Dorothy Scarborough and on the rather scarce corpus of scholarship devoted to Hodgson himself, the essay analyses the employment of space and sound in “The Whistling Room”.
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Roy, Dr Hareshwar. "Chekhov’s Death of a Clerk: A Critical Appreciation." SMART MOVES JOURNAL IJELLH 8, no. 3 (2020): 8. http://dx.doi.org/10.24113/ijellh.v8i3.10462.
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The present paper proposes to undertake a deep study of the Death of a Clerk. This beautiful short story has been written by Anton Chekhov, a prominent story teller of Russia. This story has been translated into English from Russian by Ivy Litvinov. This translation of Ivy Litvinov has been made the basis of the present study. The period of 1880-1885 is a very important period in the career of Anton Chekhov. During this period, he wrote hundreds of humorous tales. They show a keen sense of the social scene and of the incongruities of life. These tales reveal a deep feeling for human injustice and suffering. In these stories Anton Chekhov attempted to see things as they were and to deal with them as he saw them. According to him a reasoned life without a clear-cut point of view is not a life, but a burden and a horror. This was a strange idea for that day but it played a significant role in his works. Chekhov’s Death of a Clerk is one of them. It beautifully presents the picture of the life of a society based on tyranny and servility.
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Doherty, Ryan Atticus. "The Devil’s Marriage: Folk Horror and the Merveilleux Louisianais." Literature 4, no. 1 (2023): 1–21. http://dx.doi.org/10.3390/literature4010001.
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At the beginning of his Creole opus The Grandissimes, George Washington Cable refers to Louisiana as “A land hung in mourning, darkened by gigantic cypresses, submerged; a land of reptiles, silence, shadow, decay”. This anti-pastoral view of Louisiana as an ecosystem of horrific nature and the very human melancholy it breeds is one that has persisted in popular American culture to the present day. However, the literature of Louisiana itself is marked by its creativity in blending elements of folktales, fairy tales, and local color. This paper proposes to examine the transhuman, or the transcendence of the natural by means of supernatural transformation, in folk horror tales of Louisiana. As the locus where the fairy tale meets the burgeoning Southern Gothic, these tales revolve around a reworking of what Vladimir Propp refers to as transfiguration, the physical and metaphysical alteration of the human into something beyond the human. The focus of this paper will be on three recurring figures in Louisiana folk horror: yellow fever, voodoo, and the Devil. Drawing upon works including Alcée Fortier’s collection of Creole folktales Louisiana Folktales (1895), Dr. Alfred Mercier’s “1878”, and various newspaper tales of voodoo ceremonies from the ante- and post-bellum periods, this article brings together theorizations about the fairy tale from Vladimir Propp and Jack Zipes and historiological approaches to the Southern Gothic genre to demonstrate that Louisiana, in its multilingual literary traditions, serves as a nexus where both genres blend uncannily together to create tales that are both geographically specific and yet exist outside of the historical time of non-fantastic fiction. Each of these figures, yellow fever, voodoo, and the Devil, challenges the expectations of what limits the human. Thus, this paper seeks to examine what will be termed the “Louisiana gothic”, a particular blend of fairy-tale timelessness, local color, and the transfiguration of the human. Ultimately, the Louisiana gothic, as expressed in French, English, and Creole, tends toward a view of society in decay, mobilizing these elements of horror and of fairy tales to comment on a society that, after the revolution in Saint-Domingue, the Louisiana Purchase, and the Civil War, was seen as falling into inevitable decline. This commentary on societal decay, expressed through elements of folk horror, sets apart Louisiana gothic as a distinct subgenre that challenges conventions about the structures and functions of the fairy tale.
Teses / dissertações sobre o assunto "Horror tales – appreciation – fiction"
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Reinhart, Marilee J. "The evolution of women's roles in horror fiction." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1990. http://www.kutztown.edu/library/services/remote_access.asp.
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McAvan, Em. "The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror." Thesis, McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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McAvan, Em. "The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror /." McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Levine, Jonathan David. "'One wiser, better, dearer than ourselves' : gothic friendship /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6643.
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Crotty, Tammy J. "Left of mainstream : genre fiction and its ability to transcend formula." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313073.
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This collection of short stories studies the elements of genre fiction and applies them to literary fiction. Science fiction, fantasy, and horror have specific manners in which they speak to an audience. By using these elements, for example the desensitization of the current generation of readers to most horrors, an author can demonstrate the core of the human relationship to pain, faith, or hope. Though some genre fiction seems to fit certain formulas, there are also horror or science fiction stories which do not fit a conventional mold. This collection sets forth to break away from genre fiction conventions. Also, this project utilizes the genre of magical realism, which is the medium between genre fiction and literary fiction, by using fantastic events within a mundane setting to emphasize the author's ideas. By bridging the gap between genres, magical realism reveals how interrelated the elements of all genres are. In this study stories use magical and horrifying events while maintaining an intention beyond the formulaic thrill. Therefore, genre fiction can have a place amongst literature.<br>Department of English
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Williams, K. E. R. "Manifestations of the house in the Victorian ghost story." Thesis, The University of Sydney, 2005. https://hdl.handle.net/2123/28032.
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The appearance of the ghostly is generally described as a manifestation, and to perceive the ghostly is predicated on the act of seeing. To be manifest is to be apparent, clear, evident and obvious and a manifestation is an act of revelation, even one of proof. The genre of the ghostly however is rarely truly seen in critical works, and the aim of this
thesis is to engage with and explore the implications raised by the act of seeing within the tradition of the British ghost story. The appearance of the ghostly not only requires the acknowledgement of the existence of ‘the other’ by witnesses, but also actively prompts the viewer to see all that surrounds them in a wholly new way. With the focus firmly on the issue of seeing, this thesis seeks to examine to what extent the ghost story offers a different, and challenging, view of the rational world, and whether the ghost story is more than just an entertaining popular diversion and can actually, as Kenneth Womack suggests, operate as “a mechanism for social critique."
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Hodgen, Jacob Michael. ""Boot Camp for the Psyche" : inoculative nonfiction and pre-memory structures as preemptive trauma mediation in fiction and film /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2506.pdf.
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Kaiste, Jaana. "Das eigensinnige Kind : Schrecken in pädagogischen Warnmärchen der Aufklärung und der Romantik." Doctoral thesis, Uppsala University, Department of Modern Languages, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6023.
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<p>This dissertation deals with how didactic fiction and writers of child literature of the 18<sup>th</sup> and 19<sup>th</sup> centuries tried to strike terror into their young listeners to make them obedient to the social and moral norms of adults. Particular attention is devoted to texts where children themselves function as protagonists. Fairy-tales by the brothers Jacob and Wilhelm Grimm but also by Ludwig Bechstein and Charles Perrault are taken into consideration as are examples of child literature by Johann Baptist Strobl, a less famous didactic philanthropist at the end of the Enlightenment.</p><p>The theme of horror and intimidation is followed and analyzed with special regard to narrative techniques, but also to objectives of educational and socialisation processes. The dissertation argues that many of the recurring stereotypes and <i>topoi</i> in these horror stories for children can be traced back to popular superstition and other notions of an early preliterary and oral society.</p>
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Glisson, Silas Nease. "Cultural nationalism and colonialism in nineteenth-century Irish horror fiction." Thesis, 2000. http://hdl.handle.net/10500/16852.
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This thesis will explore how writers of nineteenth-century Irish horror fiction,
namely short stories and novels, used their works to express the social, cultural, and political
events of the period. My thesis will employ a New Historicist approach to discuss the effects
of colonialism on the writings, as well as archetypal criticism to analyse the mythic origins of
the relevant metaphors. The structuralism of Tzvetan Todorov will be used to discuss the
notion of the works' appeal as supernatural or possibly realistic works. The theory of
Mikhail Bakhtin is used to discuss the writers' linguistic choices because such theory focuses
on how language can lead to conflicts amongst social groups.
The introduction is followed by Chapter One, "Ireland as England's Fantasy." This
chapter discusses Ireland's literary stereotype as a fantasyland. The chapter also gives an
overview of Ireland's history of occupation and then contrasts the bucolic, magical Ireland of
fiction and the bleak social conditions of much of nineteenth-century Ireland.
Chapter Two, "Mythic Origins", analyses the use of myth in nineteenth-century horror
stories. The chapter discusses the merging of Christianity and Celtic myth; I then discuss the
early Irish belief in evil spirits in myths that eventually inspired horror literature.
Chapter Three, "Church versus Big House, Unionist versus Nationalist," analyses
how the conflicts of Church/Irish Catholicism vs. Big House/Anglo-Irish landlordism, proBritish
Unionist vs. pro-Irish Nationalist are manifested in the tales. In this chapter, I argue
that many Anglo-Irish writers present stern anti-Catholic attitudes, while both Anglo-Irish
and Catholic writers use the genre as political propaganda. Yet the authors tend to display
Home Rule or anti-Home Rule attitudes rather than religious loyalties in their stories.
The final chapter of the thesis, "A Heteroglossia of British and Irish Linguistic and
Literary Forms," deals with the use of language and national literary styles in Irish literature
of this period. I discuss Bakhtin's notion of heteroglossia and its applications to the Irish
novel; such a discussion because nineteenth-century Ireland was linguistically Balkanised,
with Irish Gaelic, Hibemo-English, and British English all in use. This chapter is followed by
a conclusion.<br>English<br>M. Lit. et Phil. (English)
Livros sobre o assunto "Horror tales – appreciation – fiction"
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Jane, Austen. Persuasion: And, Northanger Abbey : two novels. Mondial, 2008.
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Jane, Austen. Northanger Abbey: Lady Susan ; The Watsons ; Sanditon. Oxford University Press, 2003.
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Marcus, Jana. In the shadow of the vampire: Reflections from the world of Anne Rice. Thunder's Mouth Press, 1997.
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Marcus, Jana. In the shadow of the vampire: Reflections from the world of Anne Rice. Thunder's Mouth Press, 1997.
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Jane, Austen. Northanger Abbey ; Lady Susan ; The Watsons ; and Sanditon. Oxford University Press, 1990.
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Jane, Austen. Northanger Abbey: Lady Susan ; The Watsons ; and, Sanditon. Oxford University Press, 1998.
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Lemberg-Welfonder, Marlis. Ann Radcliffes Beitrag zur englischen Rousseau-Rezeption im Zeitalter der Französischen Revolution. s.n.], 1989.
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1952-, Schweitzer Darrell, ed. Discovering modern horror fiction. Borgo Press, 1985.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Horror tales – appreciation – fiction"
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Dutta, Srinjoyee. "Mythopoeia and Horror in the Global South: Reading Upamanyu Chatterjee’s Fairy Tales at Fifty." In Horror Fiction in the Global South. Bloomsbury Publishing India Pvt. Ltd, 2012. http://dx.doi.org/10.5040/9789390077359.ch-010.
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Smith, Andrew. "Aftershock: Malevolent Ghosts and the Problem of Memory." In Gothic Fiction and the Writing of Trauma, 1914-1934. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474443432.003.0005.
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This chapter explores a number of tales from the post-war period which suggest that the war produced vengeful and malevolent ghosts impossible to accommodate within the home. This chapter explores a specifically Gothic representation of the ghost which seeks to both contain, but also demonise, the war dead. Tales by E.F. Benson and M.R. James, among others, suggest that survivors of the war have irrevocably lost their sense of identity, that what is required is a new strategy by which one might lay the ghosts of the conflict finally to rest - also a feature of the poetry of Richard Aldington and Robert Graves during this period. The horror of the war and how to overcome it is also explored in Dennis Wheatley’s The Devil Rides Out (1934), which, if not a ghost story, does, through its use of the myth of Osiris, explore how anxieties about the fragmented bodies of the war dead haunt the culture of the 1930s. Dorothy L. Sayers in The Nine Tailors (1934) also highlights strategies for laying to rest the ghosts of the war and the memories that they provoke.
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Wheeler, Sara Louise. "Boundaries of Viscerality." In Alien Legacies. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197556023.003.0002.
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Abstract The Alien films form an interesting corpus for transdisciplinary scholarship. Their incorporation of science fiction motifs places them within the author’s favorite genre. However, they also depict gratuitous viscerality and viscosity, more readily associated with horror. Aesthetically, therefore, the author has always found these films instinctively repugnant and have a strong aversion to them. However, the films have enjoyed enduring popularity, and intense fandom of the evolving franchise is evident. This seems, therefore, to be a rich territory for considering the continuum of human reactions to viscera. The author has thus undertaken an introspective consideration of my responses to a variety of stimuli, within my quotidian milieu and in film, to try to make sense of my fear and disgust within the context of wider audience appreciation. Kristeva’s “abjection” provides a useful lens for viewing these subjectivities. My analysis brings new insights into the evolving role of popular culture within the modern psyche.
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McAfee, Noëlle. "Kristeva, Julia (1941–)." In Routledge Encyclopedia of Philosophy. Routledge, 2018. http://dx.doi.org/10.4324/9780415249126-de012-2.
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Born in Bulgaria in 1941 and an emigré to Paris in 1965, Julia Kristeva is a world-renowned philosopher, novelist and practising psychoanalyst. Author of more than 30 books and a professor emeritus at University of Paris VII–Denis Diderot, she has been awarded Commander of the Legion of Honour, Commander of the Order of Merit, the Holberg Prize, the Hannah Arendt Prize and the Vaclav Havel Prize. Her early work, Revolution in Poetic Language (1974), distinguished her as a major poststructuralist thinker, especially for its new ways of conceiving of the speaking being as one who is always subject to the revolutionary power of the affective dimensions of language, that is, the semiotic dimension, which, with the symbolic dimension, produces signification. In her major works of the 1980s – Powers of Horror (1980), Tales of Love (1984) and Black Sun: Depression and Melancholia (1987) – she developed new psychoanalytic theories of early development which gave ‘the maternal function’ a central role that had been neglected by previous psychoanalytic theories. Kristeva is also the author of numerous works of fiction, mostly detective novels with female protagonists, in which she tries to exemplify some of her theoretical ideas. These include The Old Man and the Wolves (1994), Possessions: A Novel (1996) and Murder in Byzantium (2006). Over the past 20 years she has turned to intellectual biography with the trilogy Female Genius: Hannah Arendt (1999), Melanie Klein (2000) and Colette (2002); and more general social theory with Hate and Forgiveness (2005) and The Incredible Need to Believe (2009). She has also continued her inquiry into revolt with books on the importance of self-reflection, critical questioning and inquiry in works such as Proust and the Sense of Time (1994), Intimate Revolt (1997) and the essay, ‘New Forms of Revolt’ (2014).